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© 1965, The Solomon R. Guggenheim Foundation, New York- 
Library of Congress Card Catalogue Number 65-26312 Printed in the United States of America 















JEAN XCERON is of Greek birth. His own form language, which 
reinforces the stylistic current of geometric abstraction that is rooted in 
Mondrian's neo-plasticism, came fully into its own between the two 
world wars, to remain, in modified form, a vital force in our own time. 
In the United States, Xceron's adopted home, the artist was a daring 
pioneer before he earned for himself the esteem and the admiration 
accorded to old masters. 

It is eminently fitting that his distinguished career as a painter should 
receive its most decisive endorsement through a one-man show at 
The Solomon R. Guggenheim Museum. For it was this museum's first 
director, Miss Hilla von Rebay, who, far back in the 1930's, acquired 
Xceron's work, and James Johnson Sweeney who, long before succeed- 
ing the Guggenheim's directorship, aided the artist in his strive for 
recognition in this country. Partly as a result of such endorsements, 
Jean Xceron literally found a home in The Solomon R. Guggenheim 
Foundation, where he has been employed and has fulfilled his duties 
with attentive loyalty ever since 1939. 

The current exhibit surveys selectively Jean Xceron's life-work. The 
artist himself has spent considerable time and effort in making sure 
that both the exhibition and the catalogue reflect his career faithfully. 
With his assistance, Daniel Robbins, until recently Assistant Curator of 
The Solomon R. Guggenheim Museum, carried out and completed the 
task. As director of the Museum of Art of the Rhode Island School of 
Design, Mr. Robbins will have the satisfaction of sharing the Xceron 
retrospective exhibition with the Guggenheim Museum. 

Thomas M. Messer, Director 


Mr. and Mrs. Norman Belgrade. Chicago 

Lawrence Bloedel, Williamstown, Massachusetts 

Mr. and Mrs. Saul Edelbaum, New York 

Rose Fried, New York 

The Joseph H. Hirshhorn Collection, New York 

Mr. and Mrs. Edgar B. Miller, Chicago 

Mr. and Mrs. Fred Olsen. through The Olsen Foundation. Guilford, Connecticut 

Denis E. Paddock, New York 

Mr. and Mrs. Walter Nelson Pharr, New York 

Mr. and Mrs. George Phillips. Jr., Chicago 

Miss Hilla von Rebay, Greens Farms, Connecticut 

Miss May Walter, New York 

Mary Dorros Xceron, New York 

Krannert Art Museum, University of Illinois. Champaign 
The Solomon R. Guggenheim Museum, New York 
Whitney Museum of American Art, New York 

Rose Fried Gallery, New York 




Jean Xceron learned about Classical antiquity at the Corcoran School of Art in Wash- 
ington, D.C. Between 1910 and 1917. fitting his academic training into a sporadic schedule of 
odd jobs within the local Greek community, he worked from plaster casts, patiently adapting 
studies of bones from the morning anatomy class to the contour drawings demanded each 
afternoon. In Washington. Xceron discovered that there was special cultural distinction in 
being a Greek, descended from the historical source of beauty as well as democracy. Like the 
rest of the Greek community, he was proud to realize that Classical tradition was the basis of 
the Beaux-Arts ideal ; and it must also have been satisfying to observe that his adopted coun- 
try designed the official buildings of its capital in imitation of ancient temples. But in 1910, 
it was somewhat difficult for Xceron to think of those ideals directly in connection with his 
immediate past. Those plaster casts, reflections of unseen originals, and those government 
buildings, colossal derivatives from unremembered prototypes, did not reflect the Greece of 
his boyhood. In the Greek Orthodox church, and in the homes of relatives and friends, he had 
seen and admired ikons, not Praxiteles ; and to relieve the cast copying, he spent hours in the 
Library of Congress studying plates of Ravenna mosaics, rendering them in watercolor, even 
venturing his own designs for mosaics and pictures of the saints. Furthermore, he knew that 
every town in the United States where Greeks settled needed such images. 

Xceron was fourteen when he arrived alone in New York, fresh from a small mountain 
village, Isari Likosouras, in the heart of the Peloponnesos. His father, Petros Xerocostas, was 
a blacksmith, and at home there had been no memories of a Classical past. Instead, there had 
been stories about the heroes of the Greek revolution, whose portraits Xceron had painted on 
the walls of his father's house. There were also ikons in the Byzantine tradition, for the saints 


like the revolutionary heroes of less than a hundred years before, formed a real part of his 
family's life. To be an artist in such a tiny village was improbable, but the precocious decora- 
tions he made— the sculpture fashioned from bits of iron, copper wire and other scraps from 
the blacksmith's shop, the engravings on stone— these were admired as embellishments and 
signs of able craftsmanship. 

Xceron had relatives in America; in Washington, in Indianapolis, in Pittsburgh, 
brothers and cousins of his father had launched hat cleaning, shoeshine, ice cream and candy 
shops. These industrious immigrants, who formed closely-knit groups in each community, 
welcomed the fourteen-year-old Xceron as a countryman and an additional hand. From 1904 
to 1910 he lived with relatives in the Greek communities of these three cities, finally settling 
in Washington only when he was twenty and determined to be an artist. His skill was useful 
to the community, which turned to him for ikons. In 1918, to celebrate Greek Independence 
Day and Greek-American solidarity, he was asked to paint an enormous temporary mural for 
the pediment of the Treasury Building: scenes of Greek gods and heroes, balanced against 
modern patriots and soldiers. Xceron's Corcoran training was helpful to him, and the pageant, 
with Xceron's decorations, was such a success that the Greek flag and Xceron's decorations 
adorned the Treasury Building all day long. 

While at the Corcoran, Xceron not only encountered his presumed Greek heritage, but, 
more subversively, acquainted himself with the new traditions of modern art. Among his 
fellow students (who also included Abraham Rattner) were George Lohr and Charles Logasa. 
largely responsible in 1916 for creating Washington's "Armory Show" by borrowing a large 
group of paintings from Alfred Stieglitz in New York. Although this tardy version of the ex- 
hibition that had shocked New York, Chicago and Boston created little furor in Washington, 
it made a profound impression on Xceron, who realized that his own preference for the flat, 
rich patterns of mosaic, with their expressive distortion, was a great deal closer to the pro- 
gressive ideal than to his careful renderings from casts and models, even if they were Greek 
and certified by his art teachers. As a consequence, during his last year at the Corcoran he 
began to be regarded as a revolutionary. His increasingly free interpretations of the model 
(he painted a blue self-portrait with cubist faceting a la Picasso) and his earliest non- 
student works, Crucifixion No. 6, 1917, and especially Adam and Eve No. 9, 1919, show a graft- 
ing of cubism to Byzantine tradition. In his limited palette range, his geometric distortion of 
figures and his shallow space, Xceron's debt to early twentieth-century French painting was 
already evident, but in the scale of his work and in its naive charm, he preserved the feeling of 
a provincial ikon painter. The most advanced formal and iconographic device in the little 
Adam and Eve is the tree that vertically divides the work, serving simultaneously as snake and 

Xceron's house in Greece 

Xceron with cast at Corcoran 


tree trunk, with the apple functioning as the snake's head. For a short time Xceron flirted 
with the idea of making his living as a religious painter, he even planned a series of murals 
for the Greek Orthodox church in Tarpon Springs, Florida. He soon realized, however, that 
the cozy and insulated Greek community was not where art was advancing, so turning his 
eyes toward Paris, he moved to New York. 

It was in New York that, for the first time, he encountered another world and discovered 
to his surprise that the solidarity then existing among artists was not unlike that which had 
sheltered him since his arrival in America. He became friendly with Torres-Garcia, who 
painted his portrait in 1920 and met, among others, Weber, Walkowitz and Stella. He fre- 
quented the Metropolitan, the Public Library and the Whitney studio, and with his new 
friends exhibited in the New York Independents in 1921 and 1922 at the Waldorf. He began 
to travel independently, going up the New England coast as far as Ogunquit, Maine. The 
effect of these years is summarized in the more sophisticated, although less personal, work he 
was producing by 1923. Realizing that Cezanne was the principal source for those develop- 
ments in contemporary painting that most interested him, Xceron had consciously studied that 
master, abandoning both the primitive charm of his earlier work and its realistic detail in 
favor of a concentration on formal organization. Yet in Landscape No. 36, 1923, there is an 
anticipation of what would become one of the most important characteristics of Xceron's 
mature style: a diffused light radiating from the roof of the house, thus giving the little paint- 
ing a quality of buoyancy. This interest in light was then secondary, probably unconscious, 
for Xceron had set out to compose harmoniously, without regard to the direction of light or the 
length of shadow, certainly without regard to the time of day or the quality of subject matter. 

By the time he had saved enough money to go to Paris in 1927, Xceron had established 
an accomplished post-Cezannesque style. He had also established some valuable friendships, 
among which was that of an ex-Athenian family, the Dorros', who controlled a flourishing 
bridal veil manufactory with offices in both New York and Paris. Much later he was to marry 
Mary Dorros, but in the twenties it was her elder brother, Theodoros, a writer and intellectual, 
who exerted a profound influence on Xceron's intellectual development. Having commissioned 
a portrait of Tolstoy from Xceron, he then went on to interest the artist in a wide literature. 
Because of his encouragement, and with the help of introductions from Abraham Rattner, 
Xceron, who had been painting independently for more than ten years, found the confidence 
to write a series of articles for the Boston Evening Transcript and the Paris edition of the 
Chicago Tribune. He thus was accepted immediately into the Paris art world, not yet as a 
painter— of which there were hundreds from all parts of the world, but as an American critic 
highly sympathetic to modern art— of whom there were very few. He wrote articles on 

Greek pageant in Washington 

Torres-Garcia portrait of Xceron 


Mondrian, Van Doesburg, Leger, Arp and Larionov; he visited studios, discussed painting and. 
unknown to many of his friends, he returned to his own studio and painted. 

Only the wise and sympathetic Torres-Garcia and the Dorros' knew that Xceron was a 
painter, but gradually certain Greek members of the Paris art world, the writers Christian 
Zervos and Teriade, the sculptor Tombros, not only discovered that Xceron painted, but that 
in his modest, quiet fashion he painted very well. His first one man exhibition thus opened at 
the Galerie de France in 1931 under the sponsorship of the influential Cahiers d'Art. Xceron 
was dazzled by the procession of notables who trooped through the gallery: Mondrian. Arp, 
Leger, Van Doesburg, Masson, Helion— almost every Paris painter of consequence, all painters 
about whom Xceron had written and all men whose work he had profoundly admired for 
years— came to see his paintings and went away impressed. 

What they saw was a group of post-cubist canvases tempered by a very personal 
lyricism. Had they known the Xceron who struggled between 1919 and 1929 to master the 
logical construction of Cezanne, they would have remarked the greater boldness with which 
he applied paint, and noted how curvilinear forms had replaced rectangular ones. It was 
evident, as in Violin No. 7 that his still life subjects were wholly and deliberately suggestive of 
human figures. This characteristic of imparting markedly human associations to what might 
at first seem to be purely investigative exercises in the organization of form became increas- 
ingly evident as Xceron's work developed. It appears in Portrait of the Artist No. 67, 1932, 
where the thrust and slight forward tilt of the head create a sense of great alertness, even 
though there is no expression on the face. It is also apparent that the head is an analogy to the 
top of a stringed instrument. 

Xceron's most significant painting of the early 1930's is Violin No. 6E. As James 
Mellow noted, this is a transitional work, proceeding from curvilinear forms on the left, where 
Picasso's influence is most apparent in the figure strumming a musical instrument, to purely 
horizontal and vertical divisions on the right, where one sees reminiscences of both early 
Mondrian and Torres-Garcia. 1 The painting, however, also contains an intervening stage that 
is an important key to Xceron's future work. This link is not so specifically localized as an 
area of the painting, existing rather as the necessary completion of an idea. The middle third 
of the picture is a close dissection of instrument forms themselves, the "S" curved sound 
openings, the strings and round holes. Thus, the final, right third of the work, where light 
modelled areas exist alone, represents pure sound, and the whole painting quite literally 
develops from reality to pure abstract effect, as evident in the iconography as in the regulari- 
zation of the forms from left to right: player, instrument, sound. 

All of Xceron's paintings from 1933 to 1936 strive to rid themselves of the last traces 
of figuration, yet equally, they are all about music, people and art. His forms meet with 
dignity, they never collide, never passionately embrace, never become uncontrolled. Through- 
out this period, he favored a vertical format, and gradually reduced textural emphasis, that 
density of pigment which had been so considerable during the previous six years. Finally, in 
1935-36 he worked almost exclusively in watercolor and gouache, for Xceron required this 
discipline to concentrate on his growing interest in light. This light came from no outside 
source, but instead radiated from the colors, clinging to the edges of a form and imparting a 
certain ethereal quality. 

Returning to oil in 1937, Xceron utilized the discipline he had gained from experience 
with gouache to produce beautiful, cool and transparent harmonies. He had developed a 
modelling or chiaroscuro that refused to turn or round the form. Unlike Leger, who also con- 
sistently modelled simple shapes to impart weight, density, or a sense of volume, Xceron's 
modelling achieved instead a palpable atmosphere around clear and intense forms, concen- 
trating greatest luminosity toward the center of the canvas as in Composition No. 242. His 

1 Mellow, James. "Jean Xceron at Seventy," Arts Magazine, New York, vol. 34, no. 9, June 1960, pp. 30-33. 


shading was always from top to bottom, or bottom to top, never from left to right. In addition, 
although he used bright colors, he never assaulted the eye. Thus, in Painting No. 239, using a 
white ground with intense colors, he modulates violet like the pressured strokes of a pen, hard 
and then soft ; he plays a vivid yellow against white so that it almost flashes ; but, very carefully, 
he relieves the optical pressure with a narrow dark line against the form, and a nearby 
soothing green. 

As Xceron's works grew in confidence and delicacy, attaining by 1937-38 a rare tech- 
nical perfection, they gradually lost some of their once-characteristic innocent gravity to 
become almost playful. Toward 1940-41 (Composition No. 251), forms became smaller and in- 
dividual arrangements more intricate ; the geometric perfection of a curve or an ellipse freely 
modified, preparing for his first non-right-angled orientations. These changes are evident in 
the small, lyrical Fragments No. 252, 1941, where variations in background intensity 
have become more pronounced, the color gathering strength as it adheres— almost as if 
magnetically attracted— to the playful forms which for the first time meet in a series of oblique 
angles. Instead of a central, radiating luminosity, a quiet and subtle movement from dark 
edges to a light core, these edges fade into a nimbus of softly radiating light. In Composition 
No. 269, the shadows cluster around the forms, now more monumental and rugged. At the very 
core, an apparently solid, unmodelled shape slips quietly into the background, dematerializing 
into a magnificent violet glow. Xceron had reversed the customary function of light, for instead 
of using light to reveal form, he arranged to have it swallow shapes, dissolving the crispest 
forms in the process. He created a mysterious dawn, in which light absorbs rather than illumi- 
nates, his pure geometry. 

During the early 1940's, Xceron mastered absolutely quiet, infinitely subtle transitions 
in form, using color areas modelled from bright to dark, but without ever tilting a plane or 
causing an indiscreet jump either forward or backward. His surfaces were perfect and deli- 
cate, like a membrane everywhere equal. In 1944, however, the brush stroke, which had been 
banished since the gouaches of 1936. suddenly reappeared in White Form No. 271. In the 
Whitney painting (Composition No. 273) and the Miller painting (Composition No. 275), he 
began to work out the implications of this bolder touch which eventually would distribute 
radiating light areas against radiating dark areas to yield a much deeper space. In the Miller 
painting, the dark, dynamic cross-hatching seems to emphasize the attraction of dark for light 
and light for dark and these two forces are more nearly equal than they had been in the 
earlier, more tranquil paintings. 

At the same time, Xceron's color grew ever more bright and varied and his forms be- 
came more intricate, because they were consistently open. From 1945 through 1948, they were 
enhanced by a striking use of black line, a line broken and roughed by impinging color, as 
if white light could be sucked out of the multicolored void by these sensitive antennae (as in 
Multiform No. 303, 1947, or Rhythm No. 301). This was the period of Xceron's widely pub- 
licized painting Radar. 2 

Over the years, Xceron's art found increasing recognition. By the mid-1930's he was— 
to his surprise— a painter of reputation, one of the inner circle associated with Circle et Carre, 
Abstraction-Creation, and the Surindependants. When he came back to America for his first 
New York show at the Garland Gallery in 1935, he became friendly with two of the most 
perceptive Americans then interested in abstract art: James Johnson Sweeney and David 
Smith. Smith asked his advice and received counsel to become a sculptor. (Very good advice, 
it turned out.) Sweeney was instrumental in obtaining his second United States exhibition, at 
the Nierendorf Gallery, and for this Xceron again returned to America late in 1937. He never 
went back to Europe. At the Nierendorf. Hilla von Rebay saw his work and acquired examples 
for the Guggenheim Foundation, thus inaugurating a long association. 

Radar, commissioned by Alfred H. Holbrook is in the collection of the Georgia Museum of Art, Uni- 
versity of Georgia. It was reproduced in Life, New York, vol. 24, no. 5, February 2, 1948, p. 69. Accom- 
panying the story, "Radar; A Non-Objective painter tries to marry science and art on canvas." 


The American Abstract Artists, then barely organized, welcomed him with open arms 
for, in those days before the arrival of the great wave of exiled Europeans, he was one of the 
very few abstract artists who had acquired an international reputation. He had already sur- 
mounted some of the barriers that this handful of American abstract painters faced: public 
indifference and official hostility; his was a modest success that could help counter the deeply 
rooted provincialism of the American art world. Commercially, Xceron fared only a little 
better than his new colleagues, but he did symbolize the achievement of Parisian abstraction, 
and, for years (well through the 1940's, when American exhibitions were almost entirely 
dominated by regional and social realist art) Xceron was one of the very few abstract artists 
admitted into the large national competitions, standing out like a rare curiosity in almost every 
Pittsburgh survey, and somehow convincing even the most conservative juries of his honesty 
and skill as a painter. While working on the Federal Arts Project, he continued to execute 
resolutely non-objective murals, a style almost totally alien to the typically social realist 
W.P.A. art, even in the chapel at Riker's Island Penitentiary. One wonders what the inmates 
thought ! 

No fanfare ever surrounded Xceron or his work. Temperamentally incapable of sensa- 
tional behavior or active group participation, he could only continue to paint, even when the 
sudden explosion of a new kind of American abstract art began to command universal atten- 
tion in the late 1940's and early 1950's. In Paris, he had been briefly part of an international 
abstract movement; in the New York of the 1950's. he was already respectfully identified with 
the past, and gravitated back to the Greek community, where he felt most at home. This 
American-Greek community has yielded other important artists: Vagis, Nikolaides, Kaldis, 
Constant, Stamos, Baziotes, and more recently Voulkos and Lekakis— all Greeks, all of differ- 
ent times and temperaments. Xceron, however, was among the first, and Xceron, for fifty years 
has been among the most constant and diligent in his single-minded, unswerving pursuit of a 
quiet ideal. Other Greek-American artists moved more freely in the world of American art at 
large, became more American, identified with a prevailing style— much as Xceron (considered 
an International) had done during his ten years in Paris. Thus, the New York abstract move- 
ment swept past him to general acclaim, and Xceron, who had been one of the few exhibitors 
of geometric abstract painting in the 1930's and 1940's, still remained virtually alone during 
the 1950's: one of the few "classic" abstract painters. Today, in the mid-1960's, with yet 
another fresh wave of American painting dominating the catalogues of large group shows, 
Xceron's independence and individuality has become even more compelling, for he continues 
to develop and expand his art, even though its principles had been established in 1936-37. 
Now, there is no background of a current period style to submerge his great ease and quiet 
perfection, his quality as an independent artistic personality. 

To the attentive observer, Image No. 330, 1949, will seem as much an anomaly as the first 
brushed paintings of 1944-45. In many respects it represents a return to themes from the early 
1930's, although it is more subtle and complex in its allusions to figures and musical instru- 
ments and more resolutely cubist in its spatial organization, as if Xceron consciously grasped 
for his tradition to help sustain himself in the flood of Abstract Expressionism. It is also the 
first painting in thirteen years not chiefly concerned with light, and as such is a preparation 
for Xceron's next crystallized interest, the figure. He must have felt that his paintings had 
become too diaphanous, too soft, too light-enveloped, and therefore made an effort to tighten 
his forms, to create a more aggressive image with crisper internal movement. Painting No. 
239 and Sound No. 291 share qualities of hardness and softness; Beyond White distills crisp- 
ness of movement, but sheds rough black line. Finally, by 1954 with Ikon No. 386 and large 
delicate watercolors like Figure No. 389 A, 1955. a clear-cut single image emerges, a strong 
white megalith on a deep blue ground. 

Painting 9, No. 424, 1958. was the first Xceron since 1932-33 in the horizontal 
format. Although it employed the sharper forms that culminated with Ikon, the nature of 
the shapes underwent still further metamorphosis. There are no longer rectangles, circles, 
ovals, but more organic, suggestive images. The organization now recalls a landscape, with a 


deliberate, slow movement from left to right, a glow of twilight against which are set rock-like 
shapes. On the right, a large white area hangs over a blue, reminiscent of a gleaming temple 
overlooking a precipice. This balance contributes a certain minimal anxiety, the level that 
Xceron tolerates; we know the white will not really topple, because it is so firmly balanced 
against the glowing light passage across the bottom of the painting. 

Through the next years and up to the present, movement in Xceron's paintings con- 
tinued to become more active, the colors growing stronger and, above all, the pulsation of 
light more prominent. References to figures and fragments of landscape become constant and 
more complete. Painting No. 426, 1959, and Painting No. 430, 1960, are, for Xceron, almost 
violent paintings. In the latter, angles clash in from all four corners and the figure forms- 
head, neck, breasts— are splayed out again in a landscape space. Composition 8, No. 432, 1960, 
is one of the boldest and most daring arrangements Xceron ever produced, with areas of 
intense swirling whites punctuated by incisive black arabesques that almost swamp the figure 
forms in the lower right. The figures, however, were determined (almost as if they had a will 
of their own) to emerge. Finally, in 1961 Xceron painted a white canvas black, and drew a 
frieze of almost barbaric, primitive forms across it, these illuminated by yellow-green light, 
with the light cohering as before to the edges of the forms. Although reminiscent of Classical 
black ground vase painting, this 1961 picture also sustains a blood red at the bottom, and a 
streak of deep blue behind. It has the quality of a ritual dance. In Source No. 445, 1962, the 
same method allows forms of violet and lurid yellow to grapple together like two archaic 
monsters in a field of bones and shattered trees. These shapes avoid collision. From an artist 
now over seventy, these works are the darkest and most romantic of his lifetime ; they include 
the El Greco-like Painting 7, No. 438, 1961. whose twisting forms lean in from dense space 
but, as always, never become uncontrolled. 

As brooding and near-violent as the large oils became through 1962, Xceron's drawings 
and watercolors pursued a more placid course. In theme, the barbaric and active figures that 
appear in the paintings present a sunnier, if no less primitive, mood. Pageant No. 558A, a 
drawing in the Walter collection, is exquisitely organized and possesses all the spirit of a 
group of centaurs at play. Finally, in the oils from 1963 to the present, all the figures clearly 
emerge— graceful, active, almost with facial expressions, always alert— playing against a 
sensuous clear blue which clings materially to the purity of their forms. These works, 
Caryatides 27, No. 452 and Figures 24, No. 449, 1963, were painted out-of-doors on clear and 
sunny afternoons. Xceron, 75 years old, seems to have returned to the Arcadia he had not 
seen since 1904, but his Greece was still not the Greece of plaster casts. 

In these years of old age, a whole painting career intervening and a wide culture at- 
tained, specific memories that had meant little or nothing when he first came to the United 
States begin to return: mountain-locked Isari Likosouras, his native village, was always 
flooded with light and to the south, the gulf of Messinia sparkled thirty or more miles away; 
the site of Lykosuras with its ruined city on an acropolis; the sanctuary of Despoina, its 
ruined Doric temple. These distant, but now meaningful images influence the imagination of 
Xceron, the still classic abstractionist, but also the Greek who wandered there, unthinking, as 
a youth. He can draw the temple now; sixty years ago it was merely a familiar heap of stone 
on the outskirts of his village. 

Xceron's art has always been so gentle, its drama internal and apparent only to those 
who follow it attentively. Instinctive, almost humble, it attains a rare poetry that too few have 
taken the trouble to contemplate. David Smith, who was as American as Xceron is Greek, and 
knew of the world as Xceron does not, once wrote to his painter friend "...You have the pic- 
tures and that is not new— you have always made them, and maybe they are too good, too subtle, 
too sensitive; but someday the world will catch up with you. Most artists are with you and 
that is the greatest level of appreciation . . ." 3 

letter from David Smith to Xceron, April 22, 1957. 



1. CRUCIFIXION NO. 6. 1917. 
Oil on canvas. 11% x 9". 
Lent by the artist. 

2. ADAM AND EVE NO. 9. 1919. 
Oil on canvas, 9% x 7%". 
Lent by the artist. 

3. LANDSCAPE NO. 36. 1923. 
Gouache on board. 15% x 19". 
Lent by the artist. 

4. CHARTRES NO. Al. 1929. 
Watercolor, 18 x 24". 

Lent by the artist. 

5. VIOLIN NO. 7. Paris. 1931. 
Oil on canvas, 27% x 22%". 

Lent by Mary Dorros Xceron, New York. 

6. PORTRAIT OF THE ARTIST NO. 67. Paris. 1932. 
Oil on board, 16 x 13". 

Lent by Mary Dorros Xceron, New York. 

7. VIOLIN NO. 6E. 1932. _ 
Oil on canvas, 25% x 31%". 
Lent by the artist. 

8. PAINTING NO. 70. 1933. 
Oil on canvas, 16 x 13%". 

Lent by Mary Dorros Xceron, New York. 

9. DRAWING. 1935. 
Ink. 5% x 9%". 

Collection Rose Fried, New York. 

10. COMPOSITION NO. 220A. 1936. 
Gouache, 30x21%". 

Lent by the artist. 

11. PAINTING NO. 219. 1936. 
Oil on canvas, 18% x 15". 

Lent by Mary Dorros Xceron, New York. 

12. COMPOSITION NO. 242. 1937. 
Oil on canvas, 45% x 31%". 

Collection The Solomon R. Guggenheim Museum. 
New York. 

13. PAINTING NO. 211. 1937. 
Oil on canvas, 25% x 21%". 

Collection Mr. and Mrs. Edgar B. Miller, Chicago. 

14. PAINTING NO. 239. 1938. 
Oil on canvas, 58 x 38%". 
Lent by the artist. 

FOR PAINTINGS NO. 259B. 1939. 
Watercolor and ink. 11 x 16%". 

Lent by the artist. 

16. COMPOSITION NO. 250. 1941. 
Oil on board, 21% x 19%". 

The Joseph H. Hirshhorn Collection, New York. 

17. COMPOSITION NO. 251. 1941. 
Oil on canvas, 40 x 30%". 

Collection The Solomon R. Guggenheim Museum. 
New ^ ork. 

18. FRAGMENTS NO. 252. 1941. 
Oil on canvas, 26 x 20". 

Lent by the artist. 

19. WHITE AND GRAY NO. 256. 1941. 
Oil on canvas, 30% x 20%". 

Collection Mr. and Mrs. Fred Olsen through 
The Olsen Foundation. Guilford, Connecticut. 

20. PAINTING NO. 260. 1942. 
Oil on board, 19 x 19". 
Lent by the artist. 

21. COMPOSITION NO. 261A. 1943. 
Oil on canvas, 40 x 30". 

Collection Miss Hilla von Rebay. Greens Farms. 

Watercolor and ink, 8 % x 11". 

Lent by the artist. 

23. DRAWING NO. 251A. 1944. 
Ink, 19 x 12%". 

Lent by the artist. 

24. COMPOSITION NO. 269. 1944. 
Oil on canvas, 51 x 45". 

Collection The Solomon R. Guggenheim Museum. 
New It ork. 

25. WHITE FORM NO. 271. 1944. 
Oil on canvas, 36 x 30". 

Collection The Solomon R. Guggenheim Museum. 
New York. 

26. COMPOSITION NO. 257. 1945. 
Oil on canvas, 19% x 15%". 

Collection The Solomon R. Guggenheim Museum, 
New York. 

27. COMPOSITION NO. 273. 1945. 
Oil on canvas, 40 x 32". 

Collection Whitney Museum of American Art, 
New York. Gift of the Friends of the Whitney Museum. 

28. COMPOSITION NO. 275. 1945. 
Oil on canvas, 32 x 40". 

Collection Mr. and Mrs. Edgar B. Miller. Chicago. 

29. PAINTING NO. 293. 1946. 
Oil on canvas, 40 x 32". 

Collection The Solomon R. Guggenheim Museum, 
New York. 


30. COMPOSITION NO. 325. 1947. 
Watercolor, 13 x lOVfe". 

Collection Mr. and Mrs. Saul Edelbaum, New York. 

31. MULTIFORM NO. 303. 1947. 
Oil on canvas, 50 x 40". 

Collection The Solomon R. Guggenheim Museum, 
New York. 

32. RHYTHM NO. 301. 1947. 
Oil on canvas, 51 x 42". 

Collection The Solomon R. Guggenheim Museum, 
New York. 

33. COMPOSITION NO. 319. 1948. 
Oil on canvas, 42 x 34". 

Collection The Solomon R. Guggenheim Museum, 
New York. 

34. IMAGE NO. 330. 1949. 
Oil on canvas, 51 x 42". 
Lent by the artist. 

35. SOUND NO. 291. 1949. 
Oil on canvas, 51 x 42". 

Collection Mr. and Mrs. Edgar B. Miller, Chicago. 

36. VARIATIONS NO. 329. 1949. 
Oil on canvas, 50 x 42". 

Mr. and Mrs. Walter Nelson Pharr, New York. 

37. BEYOND WHITE. 1950. 
Oil on canvas, 50% x 40 Vs". 
Collection Krannert Art Museum. 
University of Illinois, Champaign. 

44. CIRCLE NO. 515A. 1960. 
Watercolor, 8% x 11 Vz" . 

Collection Mr. and Mrs. George Phillips, Jr., Chicago. 

45. COMPOSITION 8, NO. 432. 1960. 
Oil on canvas, 70 x 42". 

Lent by Rose Fried Gallery, New York. 

46. PAINTING NO. 430. 1960. 
Oil on canvas, 40 x 51". 

Lent by Rose Fried Gallery, New York. 

47. PAINTING 7, NO. 438. 1961. 
Oil on canvas, 70 x 41". 

Lent by Rose Fried Gallery, New York. 

48. PAINTING 9, NO. 435. 1961. 
Oil on canvas, 36 x 48" 

Lent by Mary Dorros Xceron, New York. 

49. PAINTING 11, NO. 436. 1961. 
Oil on canvas, 33 x 45". 
Private Collection, New York. 

50. DRAWING NO. 3. 1962. 
Ink, 11 x 8%". 

Lent by the artist. 

51. LANDSCAPE NO. 38. 1962. 
Watercolor, 12 x 17 W. 
Lent by the artist. 

52. PAGEANT NO. 558A. 1962. 
Watercolor, 22 x 31". 

Collection Miss May Walter, New York. 

38. TWO CIRCLES NO. 338. 1951. 
Gouache, 22% x 15". 
Collection Mr. and Mrs. Norman Belgrade, Chicago. 

53. SOURCE NO. 445. 1962. 
Oil on canvas, 33 x 27". 
Lent by the artist. 

39. PAINTING NO. 341A. 1951. 
Oil on canvas. 30 x 24". 

Collection Denis E. Paddock, New York. 

40. IKON NO. 386. 1954. 

Oil on canvas, 34% x 22 7 /s". 

Collection The Solomon R. Guggenheim Museum, 

New York. 

54. U FORM NO. 553A. 1962. 
Watercolor, 31 x 22". 

Collection Lawrence Bloedel, Williamstown, 

55. CARYATIDES 27, NO. 452. 1963. 
Oil on canvas, 40 x 51". 

Lent by the artist. 

41. FIGURE NO. 389A. 1955. 
Watercolor, 30% x 22 1 A'\ 
Lent by the artist. 

56. FIGURES 24, NO. 449. 1963. 
Oil on canvas, 40 x 50". 
Lent by the artist. 

42. PAINTING 9, NO. 424. 1958. 
Oil on canvas, 42 x 70". 
Lent by the artist. 

43. PAINTING NO. 426. 1959. 
Oil on canvas, 37 x 48". 

Lent by Rose Fried Gallery, New York. 

57. SOUND 21, NO. 446. 1963. 
Oil on canvas, 23 x 27". 
Lent by the artist. 

58. MORPHES NO. 457. 1964. 
Oil on canvas, 40 x 51". 
Lent by the artist. 







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Chicago Tribune, Paris, p. 4: "J. Torres-Garcia", April 6, 1929. 

"Van Doesburg", April 28, 1929. "Jean Helion", June 5, 1929. 

"Tal-Coat", June 15, 1929. "Otto Van Rees", June 23, 1929. 

"Emile Rozier", June 29, 1929. "Georges Vantongerloo", July 5, 1929. 

"Hans Arp", July 20, 1929. "John D. Graham", July 24, 1929. 

"V de Rego Monteiro", July 27, 1929. "Mme. Tauber Arp", August 7, 1929. 

"Piet Mondrian", August 12, 1929. "J. A. Czaky", September 19, 1929. 

"E. Teriade", October 8, 1929. "Leopold Zborowsky", October 26, 1929. 

"Maurice Raynal", October 31, 1929. "Adolphe Basler", December 5, 1929. 

"Creixams", December 8, 1929. "Chil Aronson", December 22, 1929. 

"Max Berger", December 26, 1929. "Andre Salmon", January 2, 1930. 

"Natalie Gontcharova", March 17, 1930. "Waldemar George", April 12, 1930. 

"Andre Beaudin", July 2, 1930. "Menkes", July 25, 1930. 

"H. Berlewi", July 26, 1930. "Christian Zervos", August 27, 1930. 

"Michel Larionow", September 8, 1930. "Fernand Leger", November 30, 1930. 

Boston Transcript, Boston: "Contemporary Sculpture in Italian Art", January 18, 1930. 

"Independants Fill the Grand Palais", February 15, 1930, p. 8. 

"Contemporary Decoration at the Musee des Arts Decoratifs", April 18. 1930, p. 7. 

"Societe des Artistes Francais", May 28. 1930. 

"Artists and Fine Art Exhibitions", June 25, 1930, p. 12. 

"Exhibition Salon des Tuileries", August 23, 1930, p. 8. 

Statement, Cercle et Carre, Paris, no. 2, April 15. 1930, n.p. 

"Neo-Plasticisme or Elementarist Art", The New Review, Paris, vol. 1, no. 4, 
Winter 1931-32, pp. 316-319. 

Comment, Radio Magazine, New York, January 1952, p. 3. 

"Portrait of Dr. Demetrios Callimachos" and "Portrait of Nicolas G. Lely". 
Athene, Chicago, vol. 15, no. 3. Autumn 1954, pp. 13, 16. 

I M»l Itl.lMlllt >I\MM IS 

"Radar", 1948. 

"Notes on My Painting", February 1952. 



politis, Michael. "0 Jean Xceron Ke Ei Apoliti Techni", 
Neoelinka Gramata, Athens, July 15, 1939. 
sivilla. "Ei Techni Too Jean Xceron", Atlantis, New York, 
June 20, 1947. 

cianakoulis, Theodore. "Contributors to American Cul- 
ture: Jean Xceron", Athene, Chicago, vol. 8, no. 3. Autumn 
1947, pp. 14-16. 

"Radar: A Non-Objective painter tries to marry science 
and art on canvas", Life, New York, vol. 24, no. 5, Febru- 
ary 2, 1948, p. 69. 

argyris, vasos. "Jean Xceron", The National Herald, New 
York, November 27, 1948. Appeared in Greek in Vima 
Gapa, Pittsburgh, vol. 14, no. 5, August-September 1949, 
pp. 9-20. 

visvardis, JOHN. "Around our Painters: Jean Xceron", 
Eptanisos, New York, vol. 2, no. 6, September 1950, p. 3. 
procopiou, A. G. "Ei Techni Too Jean Xceron", Kathime- 
rini, Athens, September 29, 1953. English translation, "The 
Art of Jean Xceron", The National Herald, New York, 
June 17, 1954. 

kasak, n. "Jean Xceron", Numero, Florence, vol. 5, no. 6, 
November-December 1953, p. 20. 

ashton, dore. "Jean Xceron", XX e Steele, Paris, vol. 23, 
no. 16, May 1961, section Chroniques da Jour, n.p. 
granitsas, spyridon. "Xceron", Eikones, Athens, vol. 2, 
no. 380, February 4, 1963, pp. 34-35. English translation, 
Art Voices, New York, vol. 2, no. 3, March 1963, p. 11. Also 
appeared in The National Herald, New York, April 14, 1963. 

bethers, ray. How Paintings Happen, New York, W. W. 
Norton & Co., 1951, p. 143. 

gomez-sicre, jose. Guia de las Colecciones Publicas de 
Arte en los Estados Unidos, Washington, D.C., Union Pan 
Americana, 1951, vol. 1, p. 138. 

Phillips, duncan. The Phillips Collection Catalogue, Wash- 
ington, D.C., The Phillips Collection, 1952, p. 139. 
lebel, Robert, ed. Premier Bilan de V Art Actuel, 1937- 
1953, Paris, Cahiers Trimestriels, 1953, p. 22. 
bene'zit, e. Dictionnaire Critique et Documentaire des Pein- 
tres, Sculpteurs, Dessinateurs et Graveurs, Paris, Librairie 
Grund, 1955, vol. 8, p. 819. 

pousette-dart, Nathaniel, ed. American Painting Today, 
New York, Hastings House, 1956, ill. p. 93. 
seuphor, michel. Piet Mondrian, New York, Harry N. 
Abrams, 1956, pp. 174, 190. 

The World of Abstract Art, New York, George Wittenborn, 
Inc., 1957, pp. 105, 140, 160, ill. pp. 42, 145. Edited by the 
American Abstract Artists. 

seuphor, michel. Dictionary of Abstract Painting, New 
York, Tudor Publishing Co., 1957, p. 292. 
A Handbook to The Solomon R. Guggenheim Museum 
Collection, New York, The Solomon R. Guggenheim Mu- 
seum, 1959, p. 178. 

procopiou, angelo. Esthitiki Ke Techni Stin Ameriki, 
Athens, Nees Morphes, 1961, pp. 119, 120, pi. 30. 



aronson, chil. Artistes Americaines Modernes de Paris, 
Paris, Editions Le Triangle, 1932, p. 18, ill. pp. 128, 129. 
edouard-joseph, rene. Dictionnaire Biographique des Ar- 
tistes Contemporains, Paris, Librarie Grund, 1934, vol. 3, 
p. 443. 

felshin, max. Leaves of Life, New York, The Book Guild, 
1936, p. 19. Poem entitled Xceron. 

graham, john d. Systems and Dialectics of Art, New York, 
Delphic Studios, 1937, p. 153. 

bear, donald j. American Art Today, New York, National 
Art Society, 1939, pp. 22-23. 

A. E. Gallatin Collection, New York, Museum of Living- 
Art, New York University, 1940. "Notes on Artists" by 
George L. K. Morris, p. 153. 

barr, Alfred h. Painting and Sculpture in The Museum 
of Modern Art, New York, The Museum of Modern Art, 
1942, pp. 12, 14, 80. 

kootz, samuel m. New Frontiers in American Painting, 
New York, Hastings House, 1943, pp. 52, 65, pi. 89. 
American Abstract Artists, New York, The Ram Press, 
1946. Introduction by George L. K. Morris, ill., n.p. 
thieme. ulrich and becker, felix. Allgemeines Lexikon 
der bildenden Kiinstler, Leipzig, Seeman Verlag, 1947, 
vol. 36, p. 342. 

read, Herbert. Art Now, London, Faber & Faber, 1948, 
pi. 46. 

meyers, Bernard s. Modern Art in the Making, New York, 
McGraw Hill, 1950, p. 395. 

"Under Museum Banners", The New York Times, New 
York, December 26, 1937. On the permanent collection at 
the Museum of Living Art, New York University. 
sweeney, james johnson. "L'Art Contemporain aux 
Etats-Unis", Cahiers d'Art, Paris, vol. 13, nos. 1-2. 1938, 
pp. 43-52. 

michalaros, demetrios, a. "Contemporary Greek Art", 
Athene, Chicago, vol. 2, no. 12, December 1941, p. 22. 
"The Holbrook Collection", Georgia Cracker, Athens, Uni- 
versity of Georgia, vol. 1, no. 4, January 1947, p. 15. 
"Exposition des Peintres Americains a Paris", Cahiers 
d'Art, Paris, vol. 22, 1947, p. 330, ill., p. 326. 
"Five Greek-American Painters", Athene, Chicago, vol. 11, 
no. 2, September 1950, pp. 16, 21. 

seuphor, michel. "Paris-New York 1951", Art d'Au- 
jourd'hui, Paris, vol. 2, no. 6, June 1951, pp. 2, 10, 11. 
flexor, sanson. "Quatro Pintores Abstractos de Nova 
Iorque", Habitat, Sao Paulo, vol. 7, no. 42, May-June 1957, 
pp. 30-31. 

h[ess], t[homas] b. "Editorial: Innocents to Brussels", 
Art News, New York, vol. 57, no. 1, March 1958, p. 23. 
tillim, Sidney. "What Happened to Geometry?", Arts, 
New York, vol. 33, no. 9, June 1959, p. 40. 
smith, david. "Notes on My Work", Arts, New York, vol. 
34, no. 5, February 1960, p. 44. 

brown, Gordon. "International Art Trends, U.S.A.: the 
Purists", Art Voices, New York, vol. 2, no. 5, May 1963, 
p. 18. 



Xceron, Galerie de France, Paris, December 1-18, 1931. 
Reviews: A. w. Comoedia, Paris, December 2, 1931. 

r[aynal], m[aurice]. "On Expose: Oeuvres de 
Xceron", L'lntransigeant, Paris, December 6, 

"Works of Greco-American Painter being shown 
at Galerie de France", Chicago Tribune, Paris, 
December 6, 1931. 

clar, fanny. "Les Arts: Art Hermetique ou le 
casse-tete pictural". Le Soir, Paris, December 
10, 1931. 

"Art Notes", The New York Herald, Paris. De- 
cember 14, 1931. 

salmon, andre'. "Que pense-t-il de l'exposition 
Xceron", Gringoire, Paris, December 25, 1931. 
heilmaier, h. "Galerie de France: Xceron", 
Neue Pariser Zeitung, Neuilly, December 26. 

zervos, christian. "Les Exposition a Paris et 
Ailleurs: Xceron. Peintures", Cahiers d'Art, 
Paris, vol. 6, nos. 9-10, 1931, p. 451. 
fierens, PAUL. Le Journal de Debats. Paris. Feb- 
ruary 21, 1932. 

Xceron, Galerie Percier, Paris, May 11-25, 1933. 

Reviews: t[e'riade], e. "On Expose: Exposition Xceron", 
L'lntransigeant, Paris, May 15, 1933. 
"Xceron's Exhibit is held over at Galerie Per- 
cier", Chicago Tribune, Paris, May 18, 1933. 
p. 14. 

"De la Peinture Pure", Cri de Paris, Paris, May 
20, 1933. 

zervos, christian. "Les Expositions a Paris et 
Ailleurs: Xceron", Cahiers d'Art, Paris, vol. 8, 
nos. 5-6, 1933, pp. 250-251. 

Xceron, Galerie Pierre, Paris, July 2-10, 1934. 

Reviews: "Works of Xceron Reveal Enthusiast of Pure 
Design", Chicago Tribune, Paris, July 4, 1934. 
devau, charles. "Xceron", Beaux-Arts, Paris, 
no. 79, July 27, 1934. 

La Semaine de Paris, Paris, July 13-19, 1934. 
salmon, andre. "Les Arts", Gringoire, Paris, 
July 27, 1934. 

fierens, paul. Journal des Debats, July 22, 1934. 
zervos, christian. "Les Expositions a Paris et 
Ailleurs: Xceron", Cahiers d'Art, Paris, vol. 9, 
nos. 5-8, 1934, p. 205. 

Xceron, Garland Gallery, New York, March 22-May 1, 1935. 

Reviews: burrows, carlyle. "A Modern Frenchman", 
New York Herald Tribune, New York, March 
31, 1935. 

devree, Howard. "French Abstraction", The 
New York Times, New York, March 31, 1935. 
offin, charles z. "Another New Gallery and 
M. Xceron", Brooklyn Daily Eagle, Brooklyn. 
March 31, 1935. 

breuning, Margaret. "Garland Gallery", New 
York Post, New York, April 6, 1935. 
mcbride, henry. New York Sun, New York. 
April 6, 1935. 

M. M. "Xceron", Art News, New York, vol. 33, 
no. 27, April 6, 1935, p. 14. 

godsoe, robert ulrich. "The Art Marts", News- 
day, Garden City, Long Island, April 11, 1935. 

Xceron: Recent Paintings, Nierendorf Gallery, New York, 
opening April 13, 1938. 

Reviews: klein, jerome. New York Post, New York, 
April 23, 1938. 

M. d. "Abstractions by Jean Xceron, Greek- 
American Artist", Art News, New York, vol. 36. 
no. 31, April 30, 1938, p. 11. 
burrows, carlyle. "Purist Abstractions", New 
York Herald Tribune, New York, May 1, 1938. 
jewell, E. A. "Abstractions by Two", The New 
York Times, New York, May 1, 1938. 
nicolaides, n. "Ney Kalitechniki Orizontes Ta 
Sphighodi DimiourgimataTis AphirimenisTech- 
nis, Neon Phos Apo Tin Zographikin Too Jean 
Xceron", National Herald, New York, May 7, 

bird, p. "The Fortnight in New York", Art 
Digest, New York, vol. 12, no. 16, May 15, 1938, 
p. 18. 

Xceron, Bennington College, Bennington, Vermont, Octo- 
ber 1-14, 1944. 

Radar Painting by Xceron, Knoedler Gallery, New York, 
September, 1946. 

Xceron, a retrospective exhibition organized by Raymond 
Jonson, traveled to: 

Museum of New Mexico, Santa Fe, October 6-27, 1948. 

Reviews: "Xceron Paintings Exhibited at State Art Gal- 
lery", Santa Fe New Mexican, Santa Fe, Octo- 
ber 14, 1948. 

D. K. "Erga Too Xceron Tha Ektethoun Is 
Mouseia Ditikon Polition", Atlantis, New York, 
November 5, 1948. 

University of New Mexico, Albuquerque, November 4-17, 

Review: "Out-of-Town Show at UNM Gallery: Jean 
Xceron Paintings Hung", Albuquerque Journal. 
Albuquerque, November 10, 1948. 

Carlsbad Library Museum, Carlsbad, New Mexico, Decem- 
ber 1-15, 1948. 

Revieiv: "Roderick Mead gives Gallery Talk at Opening 
of Xceron Show Today", Carlsbad Argus, Carls- 
bad, December 5, 1948. 

Art Gallery, UCLA, Los Angeles, January 24-February 
14, 1949. 

Revieiv: millier, Arthur. "The Arts", Los Angeles Times, 
Los Angeles, February 6, 1949. 

Art Center of La Jolla, March 1-31, 1949. 

Review: klapp, freda l. "Current Art Exhibition Impres- 
sive", La Jolla Light, La Jolla, March 17, 1949. 

Santa Barbara Museum, April 12-28, 1949. 

Review: d. b. Santa Barbara, Santa Barbara, April 3, 1949. 

University of Washington, Seattle, July 6-31, 1949. 

Review: University Herald, Seattle, July 7, 1949. 

Xceron, Sidney Janis Gallery, New York, June 12-24, 1950. 

Reviews: louchheim, aline b. "Among the New Shows". 
The New York Times, New York, June 18, 1950. 
chanin, a. l. "World of Art", The Sunday Com- 
pass, New York, June 25, 1950. 
adlow, dorothy. "Summer Activity— and Lack 
of It", The Christian Science Monitor, Boston, 
July 1, 1950. 


k[rasne], b[elle]. "Fifty-Seventh Street in 
Review: Xceron lines up Form", Art Digest, 
New York, vol. 24, no. 18, July 1, 1950, p. 19. 
burrows, carlyle. "Summer Art— Here and in 
the Colonies", New York Herald Tribune, New 
York, July 2, 1950. 

visvardis, John. Eptanisos, New York, vol. 3, 
no. 4, July 1950, p. 4. 

l[a] f[arge], h. "Jean Xceron's", Art News, 
New York, vol. 49, no. 5, September 1950, p. 46. 
pesketzi, tzina. "Xeni Pnevmatiki Zoi Ino- 
menes Polities Enas Zografos Apo Tin Elada", 
Nea Estia, Athens, September 1950, p. 1398. 

Xceron: New Paintings, Rose Fried Gallery, New York, 
March 7-26, 1955. 

Reviews: estet. The National Herald, New York, March 
3, 1955. 

p[reston], s[tuart]. The New York Times, 
New York, March 12, 1955. 
g[eorge], l[averne]. "Jean Xceron", Art Di- 
gest, New York, vol. 29, no. 12. March 15, 1955, 
p. 26. 

g[enauer], e[mily]. "New Works by Xceron", 
New York Herald Tribune, New York, March 
19, 1955. 

h[ess], t[homas] b. "Jean Xceron", Art News, 
New York, vol. 54, no. 1, March 1955, p. 51. 
vasileiou, p. "Jean Xceron", Ethnos, Athens, 
June 5, 1955. 

Xceron: Exhibition of Paintings 1956-1957, Rose Fried 
Gallery, New York, April 16-May 31, 1957. 

Reviews: preston, stuart. The New York Times, New 
York, April 20, 1957, p. 9. 

burrows, carlyle. "Art on View", New York 
Herald Tribune, New York, April 21, 1957. 
s[chuyler], j[ames]. "Jean Xceron", Art 
News, New York, vol. 56, no. 2, April 1957, p. 11. 
b[arry], j. g. "Jean Xceron", Pictures on Ex- 
hibit, New York, vol. 20, May 1957, pp. 19-20. 
m[ellow], j[ames] r. "Jean Xceron", Arts, 
New York, vol. 31, no. 5, May 1957, p. 52. 

Xceron, Newcomb College, Tulane University, New Or- 
leans, October 15-November 4, 1957. Organized by George 

Reviews: Atlantis, New York, November 8, 1957. 

lamprakis. Nea, Athens, vol. 13, no. 3852, De- 
cember 10, 1957. 

Xceron: Recent Paintings, Rose Fried Gallery, New York, 
April 19-May 7, 1961. 

Reviews: preston, stuart. "International Set", The New 
York Times, New York, April 24, 1960. 

g[enauer], e[mily]. "Xceron Show", New York 
Herald Tribune, New York, May 1, 1960. 

hadjipetros, a. The National Herald, New York, 
May 3, 1960. 

butler, Barbara. "Contemporary Classicism", 
Art International, Zurich, vol. 4, no. 5, May 25, 
1960, pp. 39-40. 

s[andler], i[rving] h. "6 for May: Xceron", 
Art News, New York, vol. 59, no. 3, May 1960. 
pp. 40, 50. 

s [tiles], g. "Gallery Previews in NewYork: 
Jean Xceron", Pictures on Exhibit, New York, 
vol. 27, no. 8, May 1960, p. 20. 

mellow, james r. "Jean Xceron at Seventy", 
Arts, New York, vol. 34, no. 9, June 1960, pp. 

Xceron, Rose Fried Gallery, New York, May 16-June 30, 
1961. Watercolor exhibition. 

Reviews: preston, stuart. "Recent Watercolors", The 
New York Times, New York, May 20, 1961. 
G [enauer] , e [mily] . "The Lively Arts : Xceron", 
New York Herald Tribune, New York, May 27, 

levick, l. e. "Gallery Guide", New York Journal 
American, New York, May 27, 1961. 
dolbin,b.f. "Ausstellungen: Jean Xceron". Auf- 
bau, New York, June 2, 1961. 
p[ease], r[oland] f., jr. "Jean Xceron", Pic- 
tures on Exhibit, New York, vol. 22, no. 9, June 

ziogas, e. Krikos, London, vol. 12, no. 126, June 
1961, p. 21. 

ashton, dore. "Other Exhibitions", Arts and 
Architecture, Los Angeles, vol. 78, July 1961, 
pp. 5, 29. 

c[ampbell], l[awrence]. "Jean Xceron", Art 
News, New York, vol. 60, no. 4, Summer 1961, 
p. 12. 

raynor, vivien. "In the Galleries: Xceron", Arts 
Magazine, New York, vol. 35, no. 10, September 
1961, p. 40. 

Xceron: Selection of Paintings 1929-1962, Rose Fried Gal- 
lery, New York, April 16-May 19, 1962. 

Reviews: levick, l. e. "Art and Artists: Abstract Show 
Offers Realist 'Fringe Benefits' ", New York 
Journal American, New York, section 7, April 
21, 1962. 

preston, stuart. "Painting by Xceron", The 
New York Times, New York, April 21, 1962. 
Christy, george. "City Lights", The National 
Herald, New York, April 22, 1962. 
sandler, irving H. "In the Art Galleries", New 
York Post, New York, April 29, 1962. 
s[andler], i[rving] h. "Jean Xceron", Art 
News, New York, vol. 61, no. 2, April 1962, p. 11. 
p[ease], r[oland] f., jr. "Gallery Previews: 
Xceron at Rose Fried", Pictures on Exhibit, New 
York, vol. 25, no. 8, May 1962, pp. 22-23. 

Xceron: Exhibition of Recent Paintings, Rose Fried Gal- 
lery, New York, April 3-May 2, 1963. 

Reviews: "Jean Xceron", New York Herald Tribune, New 
York, April 6, 1963. 

preston, stuart. "Jean Xceron", The New York 
Times, New York, April 13, 1963, p. 16. 
"Xceron at Fried", Manhattan East, New York, 
April 18, 1963. 

levick, l. e. New York Journal American, New 
York, April 20, 1963. 

de knight, avel. "Jean Xceron chez Rose Fried", 
F ranee- Amerique, New York, April 28, 1963, 
p. 19. 

l[onngren], l[illian]. "Jean Xceron", Art 
News, New York, vol. 62, no. 3, May 1963, p. 14. 
r[oss], f[elice] t. "Gallery Previews in New 
York: Jean Xceron", Pictures on Exhibit, New 
York, vol. 26, no. 8, May 1963, p. 16. 
raynor, vivien. "In the Galleries : Jean Xceron", 
Arts Magazine, New York, vol. 37, May-June 
1963, p. 112. 


Jean Xceron -.Recent Paintings, Goldwach Gallery, Chi- 
cago, November 12-December 15, 1963. 

Review: "The Art World: New Exhibits Here Offer Va- 
riety". Chicago American, Chicago. November 
17, 1963. 

Xceron: Recent Oils, Watercolors and Drawings, Rose 
Fried Gallery, New York, April 22-May 23, 1964. 

Reviews: genauer, emily. "The Galleries: Jean Xceron", 
New York Herald Tribune, New York. April 25. 

o'doherty, brian. "Xceron", The New York 
Times, New York, May 2, 1964. 
"Art in New York", Time, New York, May 8, 

Roberts, colette. "Xceron chez Rose Fried". 
France-Amerique, New York, May 10, 1964. 
Johnson, marguerite. "Art in New York". 
Time, New York, May 15, 1964. 
marketos. b. j. "Xceron", The National Herald, 
New York, May 20, 1964. 

dolbin, b. f. "Xceron", Aufbau, New York, May 
22, 1964. 

B[ROWN],G[oRDON]."Jean Xceron", Art Voices, 
New York, vol. 3, no. 5, June 1964, p. 9. 
r[oss], f[elice] t. "Gallery Previews in New 
York: Jean Xceron", Pictures on Exhibit, New 
York, vol. 27, no. 9, June 1964, p. 16. 
tillim, Sidney. "Xceron", Arts Magazine, New 
York, vol. 38, no. 10, September 1964, p. 66. 


Ecole de Paris, Galerie Dalmau. Barcelona. December 

Review: faigairolle, a. de. "Asphalte. 6 tableau sonore 
derriere lequel il retentit quelque chose", L'ln- 
transigeant, Paris, December 6. 1929. 

Greek Artists in Paris, Zappeion, Athens, November-De- 
cember 1930. 

Contemporary French Painters, Arts and Crafts Club. 
New Orleans, March-April 1931. Catalogue by E. Teriade. 

Exposition Artistes Americains de Paris, Galerie de la 
Renaissance, Paris, January 18-February 6, 1932. Cata- 
logue preface by Chil Aronson. 

Review: teriade, e. "Les artistes Americains", L'lntran- 
sigeant, Paris, January 25, 1932. 

Collection des Cahiers d'Art, Hotel Drouot, Paris, auc- 
tion April 12, 1933. Catalogue: Moniteur des Ventes. 

Revista Anual do Salao de Maio, Mayo Gallery, Sao 
Paulo, opening May 11, 1939. Catalogue introduction by 
Flavio Carvallio. 

Art of Tomorrow, Museum of Non-Objective Painting, 
New York, opening June 1, 1939. Catalogue introduction 
by Hilla Rebay. 

Review: M.u. "Art of Tomorrow: Guggenheim Non-Ob- 
jective Painting on View in New Gallery", New 
York Sun, New York, June 10, 1939. 

Oeuvres des artistes apres 1920. Galerie Charpentier, 
Paris, July 17-31, 1939. 2nd exhibtion of Salon des Reali- 
tes Nouvelles. 

Golden Gate Exposition of Contemporary American Paint- 
ing, Palace of Fine Arts, San Francisco, March-December 
2, 1939. Group loan from the Museum of Non-Objective 
Painting, New York. 

Review: morley, g. l. "San Francisco presents One Man's 
Opinion of Living American Art", Art Digest, 
New York, vol. 13, no. 12, March 15, 1939, pp. 
27-32; addendum: "Living Americans", pp. 45- 

American Art Today, United States Pavilion, New York 
World's Fair, opening September 28, 1939. Catalogue in- 
troduction by flolger Cahill. 

Review: bear, d. "American Art Todav", Art Digest, New 
York, vol. 13, no. 17, June 1, 1939, pp. 20-25, 33. 

Exhibition of Contemporary Greek and Greek-American 
Art, Greek Pavilion, New York World's Fair, opening 
August 25, 1939. 

Group Exhibition, Pinacotheca Gallery, New York, Octo- 
ber 15-November 1, 1940. 

Art Auction for Aid to Greece, Barbizon Plaza Hotel 
Galleries, New York, December 22, 1940. Sponsored by 
Greek War Relief Association. 

Contemporary American Artists, R. H. Macy's Company, 
New York, opening January 6, 1942. Exhibition organized 
by Samuel Kootz. 

Artists of the United Nations, National Arts Club Gal- 
leries, New York, February 4-March 1, 1942. 

Masters of Abstract Art, New Art Center, New York, 
April 1-May 15, 1942. Catalogue foreword by Stephen C. 
Lion. Helena Rubenstein's Gallery. 

Third Group Show Commemorating the Fifth Anniversary 
of the Solomon R. Guggenheim Foundation, Museum of 
Non-Objective Painting, New York, June 25-October 
1. 1942. 

Review: "American Non-Objective Painting Reviewed". 
Art Digest, New York, vol. 16, no. 19. August 
1, 1942, p. 12. 

Art as Exhibited from 1922 to 1942, Nierendorf Gallery, 
New York, opening December 8, 1942. 

American Modern Artists, Riverside Museum, New York. 
January 17-February 27, 1943. 

Benefit of Greek War Relief, Marquie Gallery, New York, 
June' 15-30, 1943. 

Exhibition of Sculpture and, Drawings, Chinese Gallery. 
New York, December 7-30, 1944. Organized by Federation 
of Modern Painters and Sculptors. 

1st Biennial Exhibition of Drawings by American Artists, 
Los Angeles County Museum, February 18-April 22, 1945. 

Contemporary American Painting, California Palace of 
the Legion of Honor, San Francisco Museum, May 17-June 
17, 1945. Catalogue introduction by Jermayne MacAgy. 


Group Exhibition, Pinacotheca Gallery, New York, May 
25-June 16, 1945. 

Portrait of America: 2nd Annual Artists for Victory, 
Rockefeller Center, New York, November 1945. Organized 
by Pepsi-Cola Company. 

Cubist and Non-Objective Paintings, John Herron Art 
Museum, Indianapolis, December 29, 1946-February 2, 

121st Annual Exhibition, National Academy of Design, 
New York, January 4-22, 1947. 

3rd Summer Exhibition of Contemporary Art, State Uni- 
versity of Iowa, Iowa City, June 15-30, 1947. 

Zeitgeniissische Kunst und Kunstpflege in U.S.A., Kun- 
sthaus, Zurich, October-November 1947. Catalogue intro- 
duction by W Wartmann, essay by Hilla Rebay. 

Exhibition, Columbus Gallery of Fine Arts, Ohio, Febru- 
ary 26-March 28, 1948. 

Art Americain Contemporain, Galerie Georges Giroux, 
Brussels, March 20-April 10, 1948. Catalogue biographical 
note on Xceron by Alonzo Lansford. 

The Eva Underhill Holbrook Memorial Collection, 
Museum of Fine'" Arts, University of Georgia, Athens, 
1948. Catalogue foreword by Harmon Caldwell. 

Artists for Neighborhood Art, Sidney Janis Gallery and 
Betty Parsons Gallery, New York, auction February 
12, 1949. 

Contemporary American Painting, Morse Gallery of Art, 
Rollins College, Winter Park, Florida, March 1949. Organ- 
ized by Ferargil Gallery, New York. 

10th Anniversary Exhibition, Museum of Non-Objective 
Painting, New York, May 31-September 1949. 

Group Exhibition, Lotos Club, New York, to March 5, 
1950. Organized by Federation of Modern Painters and 

Contemporary American Paintings, John Herron Art 
Museum, Indianapolis, January 7-February 4, 1951. 

The Evolution in Painting from 1900 to 1952, Museum of 
Non-Objective Painting, New York, opening April 29, 1952. 

Mostra Fondazione Solomon R. Guggenheim, Fondazione 
Origine, Rome, January 24-February 20, 1953. 

The Classic Tradition in Contemporary Art, Walker Art 
Center, Minneapolis, April 24-June 28, 1953. Catalogue 
introduction by H. H. Arnason; summary, Art Digest, 
New York, vol. 27, no. 13, April 1, 1953, p. 7. 

Celebrity Art Show: Exhibition and Sale, Delmonico 
Hotel, New York, March 19, 1954. 

The Greek Earthquake Appeal, Sotheby Gallery, London, 
October 4-6, 1954. Auction. 

Nebraska Art Association: 65th Annual Exhibition, Joslyn 
Art Museum, Omaha, April 10-May 10, 1955. 

Museum of Modern Art, Tokyo, 1955. American Abstract 
Artists exhibition. 

International Collage Exhibition, Rose Fried Gallery, New 
York, February 13-March 17, 1956. 

Seven-man Exhibition, Rose Fried Gallery, New York. 
May 31-July 1, 1956. 

Presented by the Georgians, Yale University Art Gallery, 
New Haven, February 27-March 13, 1957. 

The Sphere of Mondrian, Contemporary Arts Museum, 
Houston, February 27-March 24, 1957. 

Trends in Watercolor Today, The Brooklyn Museum, New 
York, April 9-May 26, 1957. 

Silverrnine Guild of Artists, Silvermine School, New 
Canaan, September 26-October 25, 1957. 

20th Century Works of Art, University of Illinois, Urbana, 
September 29-October 27, 1957. Catalogue foreword by 
Allan S. Weller. 

Collage in America, Zabriskie Gallery. New York, Decem- 
ber 1957. 

Exhibition and Sale: American and European Artists, 
Treatment Center, New York Psychoanalytic Institute, 
New York, January 17-19, 1958. 

Dedication Exhibition, Georgia Museum of Art, Univer- 
sity of Georgia, Athens, January 28-February 28, 1958. 

The University of Illinois Collection of Twentieth Century 
Painting, School of Art, Syracuse University, November- 
30-December 29, 1959. 

20th Century Art Exhibition and Sale, Post Graduate 
Center for Psychotherapy, New York, January 18-23, 1960. 

The Current Scene: American Painting and Pure Abstrac- 
tion, The Classic Image, Esther Stuttman Gallery, New 
York, November 8-December 3, 1960. 

Dedication Exhibition, Krannert Art Museum, University 
of Illinois, Urbana, May 20-June 1961. 

International Avant Garde, Art Association of Newport, 
Rhode Island, July 15-30, 1961. Organized by Rose Fried 
Gallery, New York. 

Contemporary Painting, Yale University Art Gallery, New 
Haven, December 7, 1961-February 4, 1962. 

Exposition International du Constructivisme, Musee d'Art 
Moderne de Ceret, France, opening September 8, 1962. 

Recent American Drawings, Louis Alexander Gallery, 
New York, September 25-October 13, 1962. 

Cezanne and Structure in Modern Painting, The Solomon 
R. Guggenheim Museum, June 2-October 13, 1963. 

Review of the Season 1962-1963, Parke-Bernet Galleries, 
New York, June 18-July 27, 1963. Organized by Art Deal- 
ers Association of America. 

The Classic Spirit in 20th Century Art, Sidney Janis Gal- 
lery, New York, February 2-29, 1964. 

Review: kelly, edward. "Humanism in Geometric Art", 
Art Voices, New York, vol. 3, no. 3, March 1964, 
pp. 23-24. 

Exhibition of Paintings and Sculpture, Riverside Museum, 
New York, May 3-August 2, 1964. 

Society for Contemporary American Art: 24th Annual 
Exhibition, Chicago Art Institute, May 3-31, 1964. 

American Art Today, New York Pavilion of Fine Arts, 
World's Fair, New York, June 22-October 22, 1964. 

West Side Artists: New York City, Riverside Museum, 
New York, September 27-November 8. 1964. 

Abstraction, Expressionism, Abstract-Expressionism, In- 
ternational Gallery. Baltimore, October 14- November 7, 

Rickey Collection, Albany Institute of History and Art, 
New York, March 12-April 4, 1965. Catalogue note by 
George Rickey. 

Artists for Core, Graham Gallery. New York, April 29- 
May 8, 1965. 


CROUP EXHIBITIONS: Recurring and Traveling 


4th Annual Exhibition, Galerie St. Etienne, New York, 
May 22-June 12, 1940. Catalogue introduction by George 
L. K. Morris. 

5th Annual Exhibition, Riverside Museum, New York, 
February 9-23, 1941. 

6th Annual Exhibition, American Fine Arts Gallery. New 
York, March 9-23, 1942. 

7th Annual Exhibition, Riverside Museum, New York, 
March 16-April 25, 1943. 

9th Annual Exhibition, Riverside Museum, New York, 
March 11-April 15, 1945. 

10th Annual Exhibition, American-British Art Center, 
New York, March 25-April 13, 1946. 

18th Annual Exhibition, Riverside Museum, New York, 
March 7-28, 1954. 

20th Annual Exhibition, Riverside Museum, New York, 
April 8-May 20, 1956. 

21st Annual Exhibition, Riverside Museum, New York, 
April 22-May 11, 1957. 

22nd Annual Exhibition, Riverside Museum, New York. 
March 2-30, 1958. 

24th Annual Exhibition, Riverside Museum, New York, 
February 28-March 27, 1960. 

25th Annual Exhibition, Lever House, New York, April 
3-21, 1961. 

26th Annual Exhibition, IBM Gallery, New York, Febru- 
ary 5-24, 1962. 

27th Annual Exhibition, East Hampton Gallery, New 
York, May 7-June 1, 1963. 

29th Annual Exhibition, Riverside Museum, New York, 
March 9-April 24, 1965. 


Exhibitions circulating in United States: 

Contemporary Trends, 1954. Organized by the Federation 
of Modern Painters and Sculptors. 

Purist Painting, 1960-1961. 

Elements of Modern Art II, February-May 1965. Organ- 
ized by The Solomon R. Guggenheim Museum. 


Directions in American Painting, October 23-December 
14, 1941. 

Reviews: "Carnegie Institute Exhibition Opens", 
Athene, Chicago, vol. 2, no. 10, October 1941, 
pp. 5, 17. 

gaul, harvey. "Directions in American Paint- 
ing", Musical Forecast, Pittsburgh, vol. 41, no. 
3, November 1941, pp. 5-10. 

Painting in the United States: 
October-November 1942; 
October 14-December 12, 1943; 

Review: b[oswell], p[eyton] jr. "Carnegie Presents 
Cross-Section of Painting in the United States", 
Art Digest, New York, vol. 18, no. 2, October 15, 
1943, pp. 5-6, 30. 

October 12-December 10, 1944. 

Review: riley, m. "Carnegie Institute Opens Exciting 
Survey of American Painting", Art Digest, New 
York, vol. 19, no. 2, October 15, 1944, pp. 5-6, 26. 

October 10-December 8, 1946 ; 

October 9-December 7, 1947; 

October 14-December 12, 1948; 

Review: breuning, Margaret. "Carnegie Opens Its Fifth 
Survey of Painting in the United States", Art 
Digest, New York, vol. 23, no. 2, October 15, 
1948, pp. 9-10. 

October 13-December 11, 1949. 

Pittsburgh International, October 19-December 21, 1950. 


4th Annual Exhibition, National Arts Club, New York, 
March 14-31, 1944. 

5th Anniversary Exhibition, Wildenstein Gallery, New 
York, September 12-29, 1945. 

6th Annual Exhibition, Wildenstein Gallery, New York. 
September 18-October 5, 1946. 

8th Annual Exhibition, Wildenstein Gallery, New York, 
September 14-October 2, 1948. 

9th Annual Exhibition, National Arts Club, New York. 
October 12-29, 1949. 

10th Annual Exhibition, New School for Social Research, 
New York, opening November 10, 1950. 

11th Annual Exhibition, National Arts Club, New York, 
September 24-October 9, 1951. 

12th Annual Exhibition, National Arts Club, New York, 

13th Annual Exhibition, Riverside Museum, New York, 
January 10-31, 1953. 

14th Annual Exhibition, Riverside Museum, February 28- 
March 12, 1954. 

15th Annual Exhibition, Riverside Museum, New York, 
November 13-December 4, 1955. 

16th Annual Exhibition, Riverside Museum, New York, 
November 4-25, 1956. 

18th Annual Exhibition, Riverside Museum, New York, 
November 2-23, 1958. 

20th Annual Exhibition, Riverside Museum, New York, 
October 30-November 27, 1960. 

21st Annual Exhibition, Riverside Museum, New York, 
November 12-December 10, 1961. 

22nd Annual Exhibition, Lever House, New York, January 
13-27, 1963. 


23rd Annual Exhibition, Lever House. New York, January 
12-26, 1964. 

24th Annual Exhibition, Lever House, New York, January 
10-24, 1965. 

Modern Masters : 

December 15, 1952-January 15, 1953; 
November 20-December 1961 ; 
January 11-February 15, 1964. 

GROUP INTIME, Ferargil Gallery, New York, 1946, 

New York 

Before 1953 The Museum of Non-Objective Painting Trav- 
eling exhibitions, circulating in United States: 

Circulating Exhibition, 1951-1952. 

Eighteen Non-Objective Paintings, 1951-1953. 

Watercolors, 1960-1961. 

Participated in The Solomon R. Guggenheim Museum's 
extended loan program, 1953-1961. 

Group exhibitions at the Museum: 

Loan Exhibition 

openings: June 15, October 15, 1943; 

April 15, October 15, 1944; 

June 6, December 5, 1945; 

June 5, October 15, 1946; 

February 12, July 15, October 15, 1947: 

October 11, 1949; 

February 21, June 20, November 14, 1950: 

April 3, November 27, 1951. 

Selection IV, October 6, 1954-February 27, 1955. 
Selection VI, January 25-May 1, 1956. 
Summer Selection, 1962, July 3-September 30, 1962. 
Museum Collection, Spring 1963, April 19-June 2, 1963. 


Abstract Drawings and Watercolors: U.S.A., circulated 
January 14, 1962-May 28, 1963 to: 

Museo de Bellas Artes, Caracas ; Museu de Arte Moderna. 
Rio de Janeiro; Museu de Arte Moderna, Sao Paulo; 
Museo de l'Arte Moderno, Buenos Aires; Museo Munici- 
pal de Bellas Artes, Montevideo; Reifschneider Gallery. 
Santiago; Instituto de Arte Contemporaneo, Lima; Casa 
de la Cultura Equatoriana, Guayaquil, Ecuador; Museo 
de Arte Colonial, Quito, Ecuador; Museo Nacional, Bo- 
gota; Instituto Panameno de Arte, Panama; Palacio de 
Bellas Artes, Mexico City. 

Musee des Beaux-Arts de la Ville de Paris: 

1st exhibition, 1947; 2nd exhibition, July 1948; 4th ex- 
hibition, 1950; 5th exhibition, June 1951; 6th exhibition. 
July 1952; A group of paintings loaned annually by The 
Museum of Non-Objective Painting. 


Porte des Versailles, Paris : 

4th exhibition opening October 16, 1931 ; 6th exhibition, 
October-November 1933; 7th exhibition, October-Novem- 
ber 1934. 

Review: raynal, maurice. "La Jeunesse aux 'Surin- 
dependants'", L'Intransigeant. Paris, October 
29, 1933. 


Filth Annual Exhibition, Waldorf Astoria, New York, 
opening March 6, 1921. 

Sixth Annual Exhibition, Waldorf Astoria, New York, 
opening March 12, 1922. 


Contemporary American Painting: 34th Annual Exhibi- 
tion, June-August 1947; 

35th Annual Exhibition, June- July 1948. 


Exhibition of Contemporary American Painting: First 
Annual, Spring 1948. 

Second Annual, February 27-April 3, 1949; 

Third Annual, February 26-April 2, 1950; 

Fourth Annual, March 4-April 15, 1951. Purchase prize 
awarded to Xceron. 

Reviews: "Six New Yorkers Win Illinois University Art 
Prizes", The New York Times, New York, April 
10, 1951. 

"Illinois' Faculty Makes Its Choice", Art Digest. 
New York, vol. 25, no. 14, April 15, 1951, p. 11. 
"Xceron's Beyond White Bought by Illinois 
University", Atlantis, New York, May 13, 1951. 
ziogas, e. Krikos, London, nos. 8-9. May-June 
1951, p. 34. 

Contemporary American Painting and Sculpture: Sixth 
Annual, March 1 -April 12, 1953; 

Eighth Annual, March 3-April 7, 1957; 

Eleventh Annual, March 3-April 7, 1963. 

(Recurring exhibition with changed title) 


Annual Exhibition of Contemporary American Painting; 
December 10, 1946-January 16, 1947; November 10- 
December 31, 1950; November 6. 1952-January 4. 1953: 
November 9, 1955-January 8, 1956: December 11, 1963- 
February 2, 1964. 




Thomas M. Messer 


Associate Curator 
Research Fellows 

Lawrence Alloway 

Louise Averill Svendsen 

Carol Fuerstein and Rose Carol Washton 

Mary Joan Hall 

Public Affairs 






Everett Ellin 

Carol Tormey 

Alice Hildreth Goldman 

Orrin Riley and Saul Fuerstein 

Robert E. Mates 

Jean Xceron 

Business Administrator 

Glenn H. Easton, Jr. 

Administrative Assistant 
Office Manager 
Purchasing Agent 
Sales Supervisor 
Building Superintendent 
Head Guard 

Viola H. Gleason 
Agnes R. Connolly 
Elizabeth M. Funghini 
Joseph D. Griffin, Jr. 
Peter G. Loggin 
Fred C. Mahnken 

PHOTOGRAPHIC CREDITS All photographs but the following were made by Robert E. Mates and Paul Katz : 

Dena, New York : Portrait of Xceron. 

Otto Nelson. New York: Portrait by Torres Garcia; nos.43, 47, 50, 55. 
John D. Schiff, New York: nos. 48, 52, 53. 

Exhibition 65/5 September-October, 1965 

3,000 copies of this catalogue, 

designed by Herbert Matter 

have been printed by Sterlip Press 

in August 1965 

for the Trustees of The Solomon R. Guggenheim Foundation 

on the occasion of the exhibition 

"Jean Xceron" 

THE S0L0>10> R. CpK^E.XHEIM Ml SKI >l